Summary
Summary Schumann Study Table
- Institution
- CCEA
A table that outlines the key features of Schumann Lieder (Ich Grolle Nicht and Widmung) in relation to the text.
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Schumann: WidmungText Melody Accompaniment Harmony
‘Du meine Seele, du mein Herz’ -Baritone Voice -Accompaniment unified by… -I-V-I at end of each bar
-Melody constructed around tonic -Rising and falling triads -Ab is tonic
triad -Dotted rhythm
-I-V-I at end of each bar
‘du meine Wonn’ O du mein -Rising 6th on “meine Wonn’” -Move to Dbm chord on ‘Schmerz’
Schmerz,’ -Melody fall by scale to next key
word ‘Schmerz’
“du meine Welt, in der ich lebe, -“in der ich” transposed up a perfect -Dim7th Chord on ‘Grab’ -Move from DbmEb7AbEb7Eb7/Ab (feminine
mein Himmel du, darein ich 4th on “du, darein ich” word painting cadence)AbAb7DbAb7Ab7/DbDbdim7th
schwebe O du mein Grab,” -“O du mein Grab,” sees reference
back to bar 4. Scalic word painting
End of A section -Acc. figure persists -Perfect Cadence closes in Ab
“Du bist die Ruh’, du bist der -Longer note values- semibreves in -Repeated chords as triplet-Tonic pedal
Frieden” melody crotchets -Move to EM (change of mood) Ab/G# acts as harmonic
-Lower tessitura of melody -Harmony changes 1st and 3rd
pivot
beat -EE7AEF#m7B7(added G#)E
“Du bist vom Himmel mir be -Turn on “mir” -Inner chromatic -Modulation to F#m
schieden” countermelody in chords -9/8 suspension on ‘Himmel’
“Dab du mich liebest, macht mich -Reference to triad in opening -Move to BM, 9/8 suspension
mir wert, dein Blick hat mich vor section Dab du mich liebest,” seen in -B7EB7B7/EEE7AE7E7/AA
mir verklart, du hebst mich’ bb.5 -C#/Db used as harmonic pivot back to Ab
“liebend uber mich” -Arpeggio with dotted rhythm -Dominant pedal point
returns
‘Du meine Seele, du mein Herz du Same as prior Same as prior Same as prior
meine Wonn’ O du mein Schmerz,
du meine Welt, in der ich lebe,
mein Himmel du, darein ich
schwebe O du mein Grab,”
“mein Himmel du” -Ascending sequence -Change of harmony moves to F7 a change from A1
“Mein bebres Ich!” Final rising 6th reaches climax AbM, 4/3 suspension and perfect cadence
Coda Derived from acc. Triad figure
-End rewritten to lead
towards AbM chord
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